SPECIAL ADVERTISING SECTION OF ADVERTISING AGE JUNE 23, 2008 • C1

June 23, 1960 Volume 01 • Number 01 25 Cents a Copy • $3 a Year CHICAGO 11 • Published Weekly at 200 E. Illinois St. • DE 7-5200

With which is incorporated Advertising Agency Magazine, formerly Advertising & Selling NEW YORK 17 630 Third Ave. • YU 6-5050 Copyright, 1960, by Advertising Publications, Inc. THE NATIONAL NEWSPAPER OF MARKETING

Second-Best Year Ever... Kennedy-Nixon Race... in the now-infamous series of one- Revolutionary Technology... on-one debates between the two contenders, carried on live prime- ’60 Auto Sales How TV Alters time television for the first time in Sterling Cooper Wins history. Hitting 6.6M, U.S. Elections But also deserving credit was Kodak Projector Account the Kennedy team’s understanding TV Spending Up Kennedy Team’s Use of Medium of television and how to use it— New Agency Team Scores Taylor canceled scheduled pitches Gives Candidate the Advantage both at the debates and in lively, Business Coup; Advertiser from other agencies—including In First Live Prime-Time Debates celebrity-studded television adver - Cancels All Other Pitches hot shop Doyle Dane Bernbach— DETROIT —Despite periodic moans tising that contrasted completely and awarded Sterling Cooper the from Detroit, the result seems to be By Julie Liesse with the Nixon campaign’s ap - NEW YORK —Eastman Kodak Co. business immediately after the the second best automobile year on CHICAGO —The role played by tele - proach. last week awarded its slide projec - meeting. record, somewhere near 6,600,000 vision in the recently completed With 88% of American house - tor business to Sterling Cooper. Kodak decided to break away units in 1960. holds owning a television set— Sterling Cooper’s new leader - from its main agency, J. Walter At the same time, the imports— compared to just 11% in 1950—the ship team, Partner-Creative Direc - Thompson Co., for its new slide which have grown to account for emerging medium now can reach a projector and sought ideas from

more than 10% of the market—are S majority of U.S. voters, and clearly several Madison Avenue shops. S E R taking a pasting, except for Volks- P was poised to play a central role in The ad campaign will launch D E T A

wagen and Mercedes. I this year’s presidential race. what Kodak says is a revolution - C

O DVERTISING GE With forecasts for a downturn S A A was one of ary new technology in slide pro - S in 1961, U.S. automakers are A many voices that encouraged the jectors. Internally dubbed “the picking up the tab of more than Sen. John Kennedy VP Richard Nixon government and the television in - Q&A with Don Draper, Page C4 $80,000,000 for television enter - presidential election may usher in dustry to use the 1960 presidential tainment on the networks in the permanent changes to the way election to establish the medium’s wheel,” the new system offers a 1960-61 season. This figure does American political campaigns are responsibility as a public service removable circular tray for storing not include network national and waged. communication and education ve - slides and dropping them into the

regional spot commercials, which Observers agree that Presi - hicle. The three television networks R projection system. Kodak says the E A added another $12,143,000 in dent-elect John F. Kennedy, who agreed eventually to broadcast four B new trays accommodate twice as N I R

1959. won the popular vote in the elec - live presidential debates, represent - A many slides as the company’s cur - Advanced bookings for General tion by a mere 112,000 votes—a ing a total of 19 hours of prime- C rent Cavalcade projectors. The Motors TV in the 1960-61 season margin of just 0.1% over Vice time programming—so that cover - Don Draper new projectors are scheduled to were up in cost and in number of President Richard Nixon—was age was not merely relegated to the tor Don Draper and the agency’s hit the market next year at a price shows. The company has 176 pro - helped significantly by television weekend time slots reserved for new director of client services, of $137 to $180. gram hours scheduled, which will in two ways. programs such as “Meet the Press.” Duck Phillips, presented the Kodak is the nation’s 17th cost $48,466,000. It spent only First were the images presented (Continued on Page C14) agency’s concept to Kodak execu - largest advertiser, with total ad $33,856,000 last season. tives. The idea was so strong that spending of $35.5 million this past While GM has expanded, Ford Kodak’s Joe Harriman and Lynn year. # and Chrysler have lowered their TV budgets. Ford will lay out 1960’s 100 Leading Advertisers... $17,674,340 for 82 hours, where last year it spent $21,676,000. Companies Spend Record $2.6B Chrysler has contracted for 67 pro - gram hours costing $13,020,400 CHICAGO —The 100 largest na - bacco Co. was up 2% (see chart, this year, as against $14,441,000 tional advertisers invested $2.6 bil - Page C10) . S S E last year. R lion in advertising in 1960, up 4% Grocery products are the largest P D E

The total on TV for all the T from $2.5 billion in 1959. single product segment repre - A I auto companies stands at about C The perennial leader, General sented, garnering $567,800,000 in O S S

$10,000,000 more this year than A Motors, continued to pull away advertising—about a fifth of the last. The first TV debates played an influential role in the election outcome. from the field, riding a record 100 leaders’ total. Second-largest NBC is continuing to get the sales crest and hiking advertising was the $353,000,000 expenditure largest share of the auto TV dollar Last Minute News Flashes to an estimated $168,500,000, up by five auto companies—GM, total—about $44,500,000. ABC 9% from $155,000,000 in 1959. Ford, Chrysler, American Motors will take in $20,728,000, while McCann, Marschalk Create Interpublic Inc. GM was the only auto company and Studebaker-Packard. # CBS will get about $15,173,000. NEW YORK —Interpublic Inc. has been created as the holding com - of Detroit’s Big Three to raise ad Dinah Shore is the highest sin - pany for two wholly owned subsidiaries, McCann-Erickson and expenditures. Next was Procter & Today: The top 100 U.S. advertis - gle figure earner, costing Chevrolet Marschalk & Pratt, it was announced at press time. The brainchild of Mc - Gamble, which boosted expendi - ers increased ad spending in 2006 $13,000,000 for full sponsorship of Cann President Marion Harper, this will allow the company to acquire in - tures 3% to an estimated $127, 000, - by 3.1% to a record $104.8 billion. one hour per week on NBC, but the dependent service agencies to represent competing marketers. Industry 000 from $123,000,000 in 1959. The No. 1 spender was Procter & swing to part-time participation in sources expressed skepticism that this kind of setup is viable. Third was General Foods Corp., Gamble Co., up 6.8% to $4.90 bil - more shows is noted. This has been with $110,000,000, up 7% from lion, followed by AT&T, up 26% particularly encouraged by ABC, Clearasil Account Moves to Sterling Cooper $103,000,000 in 1959. Of the top to about $3.34 billion. The biggest with a lot of new b&w shows in its NEW YORK —Vicks Chemical Co. has tapped Sterling Cooper as ten leaders, only four increased ad - cut came at No. 3 General Motors, portfolio. agency of record for its Clearasil line. The acne treatment had been han - vertising, one held even and five which dropped 19.8% to roughly GM is said to be reaching for dled by Lennen & Newell. Billings were not disclosed. cut back: Ford Motor Co., Lever $3.30 billion. maximum circulation and a wider Bros., General Electric, Colgate- The largest category was auto - spread of entertainment this year, Color TV Has Trebled Effect Over B&W Palmolive Co. and Chrysler Corp. motive, which dropped 5.7% to as contrasted to a former policy of CINCINNATI —Color TV commercials more than treble the impact of b&w Seventh-place American Home $19.8 billion, followed by retail, up buying big-name stars and costly ads, according to a survey. The new study showed that it takes 3,589 b&w Products Corp. remained level, 2% to $19.1 billion, and telecom, specials. # set viewers to get the same commercial impact as 1,000 color set viewers. while No. 10 R.J. Reynolds To - up 9.6% to almost $11 billion. C2 • JUNE 23, 2008 SPECIAL ADVERTISING SECTION OF ADVERTISING AGE

Stepping Back to 1960... 60M Americans Smoke... Welcome to the ‘Mad Men’ Issue U.S. Tobacco Companies Mark Record Year

A nation-changing election, an evolving agency business model, new medi - By Patricia Riedman ums fighting for consumer attention—maybe things haven’t changed much CHICAGO — Costs of Cigaret Advertising It’s a banner year for Per Carton and Per Million Cigarets Sold since the “Mad Men” era after all. American tobacco companies. Not When Initiative came to us on behalf of Lionsgate to create a retro issue only is 1960 seeing record sales of Brand ‘59 Sales Ad Ad cost Ad cost of ADVERTISING AGE to celebrate the DVD release of the first season of “Mad cigarets in the U.S., but more Amer - (billions) investment per million per carton Men,” we loved the idea of seeing the show, based on the advertising indus - icans are smoking than ever before. Pall Mall (Amer. Tob.) ...... 64.0 $12,637,152 $197.45 3.9¢ try in 1960, coming to life in our pages—but we also thought it would be a U.S. tobacco companies are on Camel (Reynolds) ...... 63.5 $9,366,843 $147.50 2.9¢ lot of fun to see just how much things have actually changed since then. track to sell 476 billion cigarets this Lucky Strike (Amer. Tob.) ...... 43.0 $6,743,221 $156.81 3.1¢ Just as in the show, you’ll need to pay close attention to separate fact from year, with American Tobacco’s Pall Winston (Reynolds) ...... 43.0 $8,378,024 $194.83 3.8¢ where we have taken creative license. You’ll see reprints of actual articles Mall brand at the top, nudging R.J. Kent (P. Lorillard) ...... 36.0 $15,051,987 $418.11 8.3¢ published in ADVERTISING AGE during that time period, some “then and now” Reynolds Tobacco Co.’s Camel Chesterfield (Liggett & Myers) . . . . . 28.0 $6,066,495 $216.66 4.3¢ comparisons—such as comparisons of the 100 leading national advertisers, brand from No. 1 in 1959. Ameri - Salem (Reynolds) ...... 27.0 $15,624,230 $578.67 11.5¢ what things cost, how television was disrupting the landscape as other media can Tobacco is selling 68.5 billion L&M (Liggett & Myers) ...... 25.0 $10,468,932 $418.75 8.3¢ are doing today and BBDO Chairman Emeritus Allen Rosenshine’s look at Pall Malls, up 7% from 1959. Viceroy (Brown & Williamson) . . . . 21.5 $9,858,597 $458.53 9.1¢ the creative process on the Pepsi account over the years. And then there is Meanwhile, Reynolds is selling Marlboro (Philip Morris) ...... 21.0 $7,997,044 $380.81 7.6¢ the creative license—a one-on-one interview with Don Draper (with help from 66.5 billion Camels, up 4.7%, and Kool (Brown & Williamson) ...... 13.7 $3,797,302 $277.17 5.5¢ “Mad Men” creator and Executive Producer Matthew Weiner), a portfolio of 49.6 billion Winstons, up 15.3%. Herbert Tareyton (Amer. Tob.) . . . . . 11.5 $9,733,595 $846.39 16.9¢ Sterling Cooper’s best work and some coverage of the agency’s latest ac count American Tobacco’s Lucky Strike Old Gold (P. Lorillard) ...... 11.2 $3,295,237 $294.21 5.8¢ wins, with a bit of gossip mixed in. This agency is on fire! and P. Lorillard’s Kent brands Philip Morris (Philip Morris) ...... 11.2 $1,665,863 $148.73 2.9¢ Our Custom Programs Group had a great time digging through old round out the top five. Parliament (Philip Morris) ...... 10.0 $7,048,373 $704.83 14.0¢ archives and interviewing people from the time period, and then taking that For the most part, advertising material and wrapping it all up in a design adapted from the pages of AD AGE expenditures have kept pace with tising, up 15% from ’58; Camel menthol brands), which grabbed in 1960, complete with typefaces and column names. sales as brands battle it out within also boosted its spending almost more than half of cigaret sales this As we discovered in our research, true to the “Mad Men” portrayal, category segments, with 11 of the 34% to $9,366,843. Lucky Strike’s year, up from just 1% of market peo ple were proud to work in the ad vertising industry in 1960. It was a fun top brands boosting their measured spending in 1959 was flat at share when they were introduced a business then, and it is a fun business now. We hope you enjoy taking a media spending, while eight de - $6,743,221; Winston dropped its decade ago. Still, filters’ long-term journey back in time with us. creased theirs. In 1959, American spending 34% to $8,378,024; and growth remains a question: This Allison Arden Tobacco’s Pall Mall was the third- Kent jacked up its spending by year the Federal Trade Commis - VP-Publisher largest measured media spender, 84.3% to $15,051,987. sion ordered cigaret manufacturers ADVERTISING AGE shelling out $12,637,152 in adver - Despite the recent health scares, to stop advertising the improved cigaret advertising has remained health affects of smoking filtered The Peeled Eye Department... omnipresent—with TV, billboards, cigarets. radio, newspapers and premiums— Such regulations are helping to and it resonates with a growing seed an emerging type of cigaret ad All’s Well That Ends (or Begins) Well number of Americans. About 60,- creative that focuses on the 000,000 people (36,000,000 men ephemeral vs. literal consumer ben - Betty Furness may have He comes, behold, the Research Man. and 24,000,000 women) are smok - efits of smoking. For instance, this closed her last refrigerator door for Give him four and twenty scholars, ing in 1960. year Leo Burnett Co. launched its Westinghouse Electric, but the com - Give him twenty thousand dollars, At the same time, people have “Marlboro Country” ad campaign pany is putting a good face on the And in two months he’ll bring to view started to cut their cigaret con - for Philip Morris Cos.’ Marlboro jilting. Miss Furness recently ended The facts that you already knew. sumption, with the year-over-year filter cigarets, the ninth top-selling her reign as commercial spokes - rate of increase in number of ciga - brand, which has been gaining on 1 . . . woman for Westinghouse after 11 /2 Don Draper isn’t the only rets smoked dropping to 2.5% from Viceroy and L&M. The new ads years. Despite the loss, a highly one who’s got a knack for words 3.8%. Consumers are also increas - showcase the rugged Marlboro cow- placed company exec is predicting at Sterling Cooper. Account exec ingly opting for filters (including (Continued on Page C14) nothing but growth for refrigerator Ken Cosgrove is apparently stir - and automatic washer sales by the ring things up among the agency’s Average for Admen... Young as the average age of

second half of next year and con - ranks with the recent publication death of admen in this study, evi - S tinuing through 1962—fueled not S of his short story, “Tapping a

E dently the pace in at least one other R

by a pretty face but by growth in P Maple on a Cold Vermont Morn - D

E Age of Death field is more killing. Figures re -

T A the home-building market. I ing,” in the venerable Atlantic

C leased by the National Automobile O

S Monthly . Nothing like acclama - . . . S Dealers Assn. show the average A Drops to 60 Vicks Chemical’s decision to tion to keep the competitive juices age at death of automobile dealers Betty Furness move its Clearasil account appears flowing—rather like sap in winter. CHICAGO —The average age at is 59. to be based less on business than on ...... death of advertising men in 1960 The American Dental Assn., fol - marital bliss. Word has it that while Research may be the wave We don’t know what you slipped back somewhat, to 60 years lowing a 1955 survey, reported the the company was pleased with cur - of the future, but for now we’re worry about, but for years “Joe from 60.9 years in 1959, in the an - average age of death of dentists was rent strategy, the recent marriage of maintaining a wait-and-see atti - Smith” has wondered how much nual study compiled from obituar - 68.9. The American Medical Assn. Vicks bigwig Tom Vogel’s daugh - tude. Apparently so is Draper toothpaste is contained in a fam - ies carried in ADVERTISING AGE reported the same age at death for ter to a certain account exec means Daniels of Leo Burnett, who has ily-size tube. Last Saturday night during the year. physicians in its last such study. the account should be wrapped up penned this ode to the research he did something about it, care - The figure for advertising men The Institute of Life Insurance nicely with a big white bow to fit in maven: fully squeezing out the paste in a was compiled on the basis of reports that the life expectancy for alongside the matching crystal and long row in his bathtub. The an - nearly 200 obituaries carried up to the white U.S. male at birth in 1958 chip ’n’ dips. With a ton of charts and a wonderful plan swer: Seven feet, eight inches. the end of the year. was 67.2. # The average age of death of men IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII in fields allied to advertising—pub - Advertising Age 1949... 62.0 1955... 58.9 lishing, broadcasting, public rela - Trademark Registered • THE NATIONAL NEWSPAPER OF MARKETING tions, etc.—was 66. This figure is 1950... 57.5 1956... 57.9 based on a little more than 200 obit - 1951... 57.3 1957... 63.0 STAFF uaries carried in AA. Jackie Ghedine, Advertising Director, 212-210-0725, [email protected]; Jim Whelan, Sales Manager, 212-210-0158, [email protected]; 1952... 61.3 1958... 60.3 Angela J. Carola, Custom Program Director, 212-210-0407, [email protected]; Karen Egolf, Editorial Director, Custom Marketing Solutions, The median age at death for 312-649-5239, [email protected]; Richard K. Skews, Associate Editor; Barbara Knoll, Copy Editor; Christine Bunish, Researcher; advertising men was 59; for those 1953... 58.8 1959... 60.9 Gre gory Cohane, Art Director; Diane Maida, Production Manager in allied fields, 65. The youngest adman to die was 25 years old; the 1954... 61.5 1960... 60.0 oldest, 87. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII SPECIAL ADVERTISING SECTION OF ADVERTISING AGE JUNE 23, 2008 • C3 Brands Get Promotion Aplenty... Dentists’ Okay of Crest as Advertisers Have Field Day at Rome Olympics Bar to Decay Elates P&G

ROME — therapeutics reports: Despite severe restrictions ganized an electronic information Soft Sell Treatment on commercial tie-ins, a number of center in Rome’s Via Veneto, im - “Crest has been shown to be an Tells of 1st & Only ADA effective anti-caries [decay-preven - companies managed to associate porting a Ramac 305 computer Nod to Therapeutic Claim themselves with the color and ex - from Germany to answer questions tive] dentifrice that can be of sig - citement of the XVII Olympic about Olympic performances. CHICAGO —Crest toothpaste, drill- nificant value when used in a con - Games here. • Gillette issued a shaving kit ing away at the “decay preventive” scientiously applied program of The games, only the second to containing a razor, shaving cream theme since its introduction five oral hygiene and regular profes - be televised, were carried in the and 10 blades to all journalists. # years ago, has finally struck a sen - sional care; Crest dentifrice may U.S. by CBS, which broadcast 20 sitive marketing nerve. also be of value as a supplement to hours for a rights fee of $394,000. Today: NBC Sports plans to run The American Dental Assn. is public health procedure.”

officially recognizing the Procter & The council emphasized that its S

This followed the network’s suc - S 3,600 hours of coverage of the

E R

cessful airing of 13 hours of the P 2008 Summer Olympics in Beijing Gamble fluoride dentifrice as “an action applies only to this specific

D E

T effective decay preventive agent,” brand, whose principal active in - A

Winter Games from Squaw Valley, I via NBC Universal’s broadcast net - C

O the first and only toothpaste ever to gredient is a patented stannous flu -

Calif., earlier this year for $50,000. S work, cable channels and digital S For the Summer Games, the A outlets. It paid a reported $894 mil - receive therapeutic acclaim from oride formula. ground rules set by the organizing Sprinter Wilma Rudolph, 20, became lion for these rights. Overall, U.S. the ADA. Procter & Gamble people are the first American woman to win three committee were designed to ensure ad spending for the games is fore - In a statement published in the exhilarated over what this “seal of gold medals in one Olympiad: 100m, Journal of the American Dental approval” might mean for the mar - that all promotional efforts would 200m and 4x100m relay. Miss Rudolph cast to hit $2 billion, according to be in good taste and that the em - suffered from polio, scarlet fever and cnnmoney.com. Assn., the ADA council on dental keting future of Crest, but publicly phasis would be on public service double pneumonia as a child. they are exercising restraint. Ben - rather than on promoting products. Younger, More Affluent… ton & Bowles has been Crest’s Use of the 1960 Olympic seal • Coca-Cola organized a pro - agency since the product’s intro - was restricted to those Italian com - gram of special advertising and duction. # panies that provided the organiz - give-aways, which included a A Look at Today’s Consumer ing committee with products or poster showing a discus thrower Update: Despite the magnitude services free of charge or at a nom - against the background of the Col - WASHINGTON , D.C.— Today’s con - wife reside in 87.4% of families, of this declaration, P&G kept Crest inal price. Other companies got iseum that was posted on the back sumers are younger, more affluent with 26.3% of wives working out - ads relatively subdued—a factor exposure here by concentrating of all delivery trucks and distribu - and better educated than their side the home, up from 19.8% 10 that probably played to its benefit their efforts on a selected group— tion of 240,000 free Cokes to ath - counterparts in 1950—and there years ago. in the long run. Before the an - such as journalists, athletes or au - letes, journalists and Olympic offi - are far more of them than there The head of the household is, nouncement, Crest had a 12% mar - tomobile tourists. cials during the games. were just 10 years ago. on average, 48 years old and has an ket share compared with Colgate’s Among leading U.S. efforts: • IBM’s Italian subsidiary or - The U.S. population hit 180,- 11th grade education. In 38.7% of 35% share and Gleem’s 20%. By 670,000 in 1960, up 19% since the households, this person works as a 1964, Crest held a sizable lead at 1950 census, according to the U.S. craftsman or a machine operator, more than 30%, compared with Census Bureau. Two-thirds of that while in 26.6% of households, the Colgate’s 25%. growth was in the suburbs, and, head is a professional, manager or Estimated 1964 ad spending for since the 1950 census, Washington, proprietor, according to the U.S. Crest was $12 million compared to D.C., became the first major city in Bureau of Labor Statistics. $1.5 million in 1960. Crest re - the U.S. to have a majority black Families have significantly ceived the most ad spending of any population. Overall, the percentage more money to spend than they P&G product, a distinction it of Americans who are white de - did in 1950, with average income would retain until 1980. creased slightly to 88.6% from up 57.9% to $6,691. And they’re 89.5% in 1950. spending that money: Family Public Accepts Ads

S For the first time since 1900, the spending is up 41.5% to $5,390.

S

E R P median age of the population That’s reflected in the bureau’s an -

D But Refuses to Pay

E

T A

I dropped, going to 29.5 years—28.7 nual budget for “modest but ade -

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S for men and 30.3 for women— quate” living for a four-person for TV, Study Finds S A from 30.2 years in 1950, according urban family, which increased American boxer Cassius Clay gained international prominence by winning the COLUMBUS , O.— Despite its unfa - light-heavyweight gold medal in Rome. to the government. That decrease 40% (see chart below) . came as the result of growth in the But what they’re spending that vorable publicity, television still re - 15- and-younger crowd, who make money on has changed signifi - tains the basic confidence of its au - Six-Year-Old Market... tegrated marketing program that up 31.1% of the population today. cantly. For the first time since dience, especially as it relates to exposed Librium to physicians all At the same time, the average fam - 1901, the Bureau of Labor Statis - news coverage, but viewers have over the country via medical jour - ily size grew slightly to 3.1 from tics, in its Consumer Expenditure some misgivings about TV’s han - Librium Top nal advertising, direct mail and 3.0 in 1950. Both a husband and a (Continued on Page C14) dling of commercials. calls by sales representatives. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII These were the principal find - Tranquilizer The marketing of Librium can What a Family Needs to Eat and Drink ‘Modestly’ ings in a 1,700-sample survey con - best be understood when placed TOTAL BUDGET FOOD AND BEVERAGES ducted here last April. The survey NEW YORK —Hoffman-LaRoche against the background of the tran - 1. Chicago ...... $6,567 ...... $1,751 showed that many, and in some has captured a major share of the quilizer market. The business of 2. Seattle ...... 6,562 ...... 1,844 cases most, of the respondents: U.S. tranquilizer market with its keeping people tranquil is only six 3. Boston ...... 6,317 ...... 1,857 • Believe at least some TV com - new drug, Librium, introduced in years old. Previously, mentally dis - 4. San Francisco ...... 6,304 ...... 1,795 mercials are visually “rigged” to March. turbed patients were treated—if at 5. Los Angeles ...... 6,285 ...... 1,747 make products appear to better ad - 6. St. Louis ...... 6,266 ...... 1,694 The drug took off in the market all—with barbiturates. Tranquiliz - vantage, but believe the same prac - like a bird. It needed only three 7. Portland, Ore...... 6,222 ...... 1,746 tice is equally prevalent in “slick- ers had a dramatic impact in the 8. Pittsbugh ...... 6,199 ...... 1,889 months to become the No. 1 prod - mental health field. They resulted in paper” national magazines. uct in new tranquilizer prescrip - Cleveland ...... 6,199 ...... 1,695 • Are annoyed by the number of the release of thousands of patients 10. Minneapolis ...... 6,181 ...... 1,647 tions. Roche thus has the hottest commercials in and between TV from mental hospitals, and they be - 11. Washington, D.C...... 6,147 ...... 1,684 prescription product of 1960. It is programs, by hard-sell commer - came a favorite tool of the general 12. Cincinnati ...... 6,100 ...... 1,734 expected to spend close to $2,000,- practitioner in treating anxiety. 13. Detroit ...... 6,072 ...... 1,761 cials and exaggerated claims, but 000 to promote Librium before the Annual sales of tranquilizers 14. New York ...... 5,970 ...... 1,853 have no objections to advertising year is out. have risen to $300,000,000 at the 15. Kansas City ...... 5,964 ...... 1,631 on TV when properly handled. Behind the success is, of course, retail level. There are currently Figures include cities and suburbs. Average family is employed husband, 38; housewife; • Would be unwilling to pay an 8-year-old girl; 13-year-old boy. Source: Bureau of Labor Statistics figures for an annual annual fee—even $5 to $10—for the efficacy of the drug. Also be - some 30 tranquilizers offered by 19 budget to provide “modest but adequate” living for a four-person urban family. hind the success, however, is an in - companies. # IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII advertising-free programs. # C4 • JUNE 23, 2008 SPECIAL ADVERTISING SECTION OF ADVERTISING AGE

Q&A With Don Draper... Ad Age: Your clients love you and your the tobacco industry? work. Joe Harriman and Lynn Taylor at Kodak can’t say enough nice things about Mr. Draper: Right now it seems like a lot Hot Creative Tackles Business, you. The head of a rival agency says your of hysteria. As far as the future goes, I don’t client United Fruit practically thinks you in - see a reason to change anything. Prohibition Industry —and What Lies Ahead vented the banana—your creative insights was 30 years ago. I think the government’s have been so valuable to the Chiquita brand. interference will have similar success. What is the secret of your success as an When it comes to up-and-coming stars in ad - and at Sterling Cooper? adman? Ad Age: You have a broad portfolio of vertising, one clear leader is Don Draper of clients, including not only Lucky Strike but Sterling Cooper. Mr. Draper: Duck Phillips is a thorough - Mr. Draper: I’ve been very lucky. I have a also Maytag, Bethlehem Steel and some top Mr. Draper, 36, who recently was named bred. The better question is, can our team great team. And most important, I believe in package-goods brands such as Right Guard partner in addition to creative director of the live up to his expectations? But I can say so research. Personal, one-on-one research— and Clearasil. What other categories of ad - New York-based agency, has spent eight far, so good. not the stuff that comes from reports. You’d vertisers would you like to pursue as clients years in advertising, including six at his cur - be surprised what you can learn about to - in the coming year? rent shop. He is credited with Sterling Ad Age: Some in the industry have charac - bacco sales from talking to a busboy. Cooper’s innovative Lucky Strike campaign terized Sterling Cooper as a “mom and pop” Mr. Draper: We’ve been very successful at earlier this year and just wiped out the com - agency; others have pegged it as a more tra - Ad Age: As advertising increasingly moves getting smaller divisions of big companies. petition for Kodak’s new slide projector with ditional agency compared to today’s hot cre - beyond magazines, newspapers, billboards Right now we’re really trying to land a his “Carousel” concept. In addition, he was ative shops, such as DDB and BBDO. How and radio to television commercials, how whale. We have Clearasil, but we’d like a responsible for the agency’s hire of Herman would you describe your agency’s niche on does your job change? How do you think this shot at their parent, Vicks, and obviously “Duck” Phillips as head of account services. Madison Avenue? new medium, television, will change the way we’d like some other clients as big as Lucky In a recent interview with ADVERTISING Strike: a major airline, an automobile. AGE reporter Julie Liesse, Mr. Draper dis - Everyone must give the same answer to this cussed Sterling Cooper’s recent account question, am I wrong? wins and losses as well as his new role at the agency and what to expect in the future. Ad Age: It’s no secret that you were wooed this year by other, bigger shops. Why did you Ad Age: It has been a roller-coaster year for decide to stay at Sterling Cooper? Sterling Cooper and for you personally. Your agency has had a couple of high-profile ac - Mr. Draper: Sterling Cooper has always count wins recently—Kodak and Clearasil— taken care of me, financially and creatively, but also lost Dr. Scholl’s. You have won and maybe I’m old-fashioned, but I’ve tried awards and have a new role at Sterling to reward that with my loyalty. Cooper as partner and creative director. But overriding everything has been the health of Ad Age: The word on the street is that your Roger Sterling. What do you think about the wife is a former model and was considered year your agency has had, and what do you for a role in a Coca-Cola campaign this forecast for the coming year? year. Are you looking to be an advertising wonder couple—behind and in front of the Don Draper: It has been quite a year, but I camera? don’t want to give the impression that things are unstable at Sterling Cooper. We continue Mr. Draper: It’s true I’ve been blessed with to bring in new business and offer an alter - a beautiful wife. But she’s made it clear she native to larger firms by providing cutting- has no intention of giving up her life as the edge creative. world’s happiest housewife.

Ad Age: How is Mr. Sterling doing? Do you Ad Age: Other Madison Avenue shops, no - anticipate his return to the agency soon? tably J. Walter Thompson, are promoting more and more women in their creative de - Mr. Draper: Why? What have you heard? partments. What do you think of the future of Roger’s in perfect health. Roger is recover - women in the ad industry? ing nicely and has worked as hard as he

ever has. N Mr. Draper: I don’t really think of the in - U Y

H dustry as coming from men or women. Ei - G

Ad Age: How have your clients reacted to U ther someone gets it or they don’t. There O the absence of Mr. Sterling from day-to-day D is a generation of women coming up right business? For instance, he is especially Don Draper now who seem more ambitious and more close to your Lucky Strike client. logical than emotional, and that’s useful. Mr. Draper: Pretty much when you look at advertising talks to consumers—and how We’ll see what happens, but we’ve defi - Mr. Draper: Roger has always entrusted me Madison Ave. right now, it’s a battle between will it affect advertising in general? nitely started moving in that direction. But with the Lucky Strike account, and during the dinosaurs and the Tinkerbells. Sterling I’d like to think it’s more about ideas than his brief vacation, I’ve tried to keep Lucky Cooper is steeped in tradition while still Mr. Draper: Well the first thing I’ve no - anything—the right person for the right Strike happy in Roger’s inimitable style. being able to take chances, and that’s all ticed, it seems to be more about show busi - product. about overhead. We’re not going to be bank - ness, not just putting ads into television Ad Age: What is your working relationship rupted by the next fad. shows without irritating viewers. But the ads Ad Age: It’s a new decade. The U.S. has a with Bert Cooper? He has a reputation as themselves have to tell stories, have music, young, inspirational new president, and con - a tough boss but also a, well, unique per - Ad Age: Many in the ad business were im - have striking images, be entertaining— sumers are feeling good about the economy. sonality. pressed by your “Jesus Over Rio” cam - maybe even more entertaining than the How do you view the decade ahead for the paign as well as your “Mark Your Man” shows. It’s going to be a tough one. ad business? Mr. Draper: I’d be lying if I didn’t say Bert ads for Belle Jolie. How would you describe Cooper is a character. But I feel lucky to work Sterling Cooper’s creative philosophy? Ad Age: One of your cornerstone clients, Mr. Draper: I don’t think too much about with him; and, let’s face it, he’s a legend. Lucky Strike, just lost a major lawsuit and the future. I was born in the Great Depres - Mr. Draper: I’d like to think that our work faces the prospect of increased government sion, and I know consumer confidence is a Ad Age: In a high-profile move, you just springs from somewhere deep in the heart regulation of the tobacco industry, includ - shaky horse to hitch your wagon to. We’ve recently landed Duck Phillips as your head of our artists. We try to be mirrors for con - ing possible health warnings on cigaret made a lot of money in the ’50s without of client services. Why did you go outside sumers. Of course, there’s another art, and packages. How does all this change the much effort. Same thing in the ’20s. I don’t the agency for this position? How is Mr. that’s getting ideas past clients. So we try creative challenge of marketing cigarets? know where advertising’s going, but it’s not Phillips adjusting to life back in New York to be practical. What do you predict for the near future of leaving. # © MMVIII Lions Gate Television Inc. All Rights Reserved. www.lionsgatedvd.com Photo credit: © 2006 Craig Blankenhorn/AMC C6 • JUNE 23, 2008 SPECIAL ADVERTISING SECTION OF ADVERTISING AGE

Why 1960 Is the Golden Age of Advertising This privileged world embraced power and glory—but a dark side lurked beneath the glamour

By John McDonough Despite the glamour and gloss, however, fluence in 1950 when a vigilante group pub - codes of a distant business culture. Walk The year 1960 is a misnomer. It has nothing agencies’ insularity was already being lished a list of 151 famous artists alleged to through a big agency in 1960 and you at all to do with “The Sixties,” that period so outed in unfriendly ways. This pressure was be politically “embarrassing.” Networks and might hear a private language of metaphors venerated by liberals and damned by conser - part of a larger post-war movement that had sponsors were obliged to act. But even they as self-consciously synthetic as the adver - vatives. The year 1960 was actually the cul - been examining some of the unintended soon found the arbitrary, star-chamber na - tising it often produced—“Three out of four mination of the 1950s, a distinctly different consequences of prosperity, abundance, ture of blacklists too unsavory to acknowl - doctors agree”; “Styling, power, perform - time, and for many the climax of civilization. consumerism and the growing mass com - edge, let alone defend. So they gladly tossed ance”; “Scientific tests prove”; “Space age Only 30 years earlier, the consumers of munications partnership of television and this hot potato to Madison Avenue, which, technology”—before the creative revolu - 1960 had been born into the so-called Amer - advertising. Sociologist C. Wright Mills in addition to its other duties, now gave tion rewrote the rules. Comedians could ican middle class of the ’20s. But class is rel - suggested that a collectivist private bureau - cover and deniability to networks and spon - hardly improve on such material. So they ative. The adult middle class of the Jazz Age cracy was smothering the free will of the sors, becoming a kind of shadow judiciary simply appropriated it and turned its jargon was still a thrifty, nonunion working class, middle-class worker. that decided who could work in television into instant clichés that forever attached soon to be dumped into the ranks of the New and who couldn’t. themselves to the ad agency. Poor of the Depression with only its bour - t was William H. Whyte who, in 1956, The blacklist lived in 1960 and so did its It was a language with a purpose. In - geois values to take along. Igave that anonymous worker the name stealthy intrigues in agency business. In tended to postpone finality and avoid con - But now in 1960, here were their children, that would become an enduring icon of pop - September, Rod Serling, whose “Twilight frontation, it was a silly but subtle vocabu - born in the ’20s and ’30s, raising their own ular culture: “The Organization Man.” Mr. Zone” series was going into its second year, lary of accommodation, pragmatism and kids in freshly built suburbs and buying Whyte warned of a “social ethic, which told an industry group that two actors he compromise: “Send it up the flagpole and see washing machines, color TVs and long-and- makes morally legitimate the pressures of so - had wanted for his show could not be hired if anyone salutes,” “Thinking off the top of low cars visualized as jet fighters on wheels. ciety against the individual.” He conceded we “because they are on the agency blacklist. my head,” “I can tell your shirt collar buttons Through a historic combination of luck needed to know how to work with the Or - … I went to the network and asked how in the back” and that most eternal coinage of and upheaval, this generation had been swept ganization. “But, more than ever,” he wrote, they could be cleared. The answer I got was mid-century advertisingese, “I like it, but….” up into the steepest and swiftest arc of up - “so do we need to know how to resist it.” that it was the agency’s blacklist, not the ward social mobility in human history, a one - It was a curious warning. Middle-class network’s.” Yet the two agencies handling here were the brands, too—another lost time ride on the magic carpet of the New Americans in 1960 didn’t imagine their em - “Twilight Zone” claimed no knowledge of Tlanguage of the 1960s: DeSoto, Ply - Deal, World War II and the G.I. Bill that ployer—the Organization—as the enemy. any blacklist. mouth, Chesterfield, Fatima, Old Gold, Duz, peaked in an unprecedented democratization That was the old language of the union, a The behind-the-scenes nature of advertis - Slenderella, Oxydol, Ipana, Life, Look, Atlas of affordable luxury and a broad consensus kind of collectivism now shunned by the ing was making it a natural target of another Prager, Blatz, Rheingold, Argus, Ansco, of material well-being based on a unique con - staunchly right-to-work, white-collar Organ - kind of popular paranoia around 1960. In Stopette, Pan Am, TWA. fluence of demand and resources. The future ization Man. 1957, Vance Packard purported to expose ad - There were a number of other words ad - had arrived. Though Mr. Whyte didn’t cite advertising vertising’s great conspiracy against unsus - vertising was coping with in 1960, including specifically, in the curious alchemy of cul - pecting consumers. His book “The Hidden positioning , which renamed, as advertising t the epicenter of this vast transactional tural symbolism, the advertising man became Persuaders” sold millions of copies and de - was wont to do, something it had always A map were the invisible wizards of the purest personification of corporate con - scribed the secret ways Madison Avenue was more or less done. Positioning simply prom - Madison Avenue, where the power and the formity. It wasn’t particularly fair; Madison brainwashing buyers with subconscious psy - ised to do it better, deeper and, if necessary, glory seemed to converge. They controlled Avenue simply reflected the larger culture of chological warfare methods they were pow - against all logic and from whole cloth. It the secret spigots of motivation, awareness its clients. Still, the advertising man made the erless to resist. brought a methodology to the management and demand in an unprecedented battle of perfect patsy. He didn’t make a product any - “The Hidden Persuaders” followed the of perception. But William Whyte got as the brands and choices. Television growth one could actually buy. Instead, he conjured basic law of all conspiracy theories: The in - close to describing positioning as anybody had pushed ad agency billings from $1.3 the imagery that made consumer goods an visible enemy must always possess vastly when he wrote: “Few talents are more com - billion in 1950 to $6 billion in 1960. It was unspoken metric of national social conform - more intelligence, ruthless cunning and su - mercially sought today than the knack of de - a great time to be a huckster. ity—the cars, beers, appliances, home fur - perpowers than its hapless victims. Anyone scribing departures from the Protestant ethic The big ad agency of 1960 preferred to nishings and styles. who actually worked in the quicksand of ad - as reaffirmations of it.” work in the shadows. It existed for the The adman of 1960 was an engineer of vertising, of course, knew its real secrets. But Another new word in 1960 that would greater glory of its clients’ names, not its conformity who quietly sorted consumers even the illusion of infallibility was some - have a future was Interpublic . What kind of own. Even the biggest shops lived in a kind according to demographic and psycho - times a convenient business tool. a name is that for an agency? But then it of netherworld of identity. They thrived as graphic markers to which it was assumed As the muckrakers attacked the morality wasn’t an agency but a holding company. proxies of their clients’ wills, while carefully they conformed. Just as important, the nature of advertising, comics and satirists created An old word, commission , was getting a keeping their own identities in a state of of the business made him inherently obedi - caricatures of the advertising man that still second look in the deal between Shell Oil and Zelig-like ambiguity. Every consumer in ent to the corporate masters whom he live as the default Madison Avenue stereo - Ogilvy, Benson & Mather. Ogilvy got the 1960 knew about General Motors and Proc - courted as clients. The adman practiced con - type—the toadying, three-button yes man. business, but Shell insisted on amending the ter & Gamble. But few had ever heard of formity as a science on the one hand and as 15% commission formula that had supported Young & Rubicam, McCann-Erickson or an art on the other. It was ironic that by 1960 espite its critics, the advertising busi - the agency business for decades to a fee Batten, Barton, Durstine & Osborn. the professional image-makers had lost con - Dness in 1960 saw itself as a privileged, arrangement—something to worry about, This was part of the allure of advertising. trol of their own image and found them - button-down country club of belongers. Even perhaps, but later on. Admen worked behind oak-paneled doors selves the billboard boys of an increasingly copywriters and art directors wore coats and Self-regulation was a subject that tended in fashionably located office towers bearing sinister gray flannel, conformist culture. ties. Ad men were a brotherhood. Simply to come and go depending on how guilty the only a numbered address. They commuted A good deal more sinister were the dropping an agency name constituted a se - industry was made to feel about itself. In between New York, Chicago and Holly - agency codes of political conformity that cret fraternal sign of identity, since no one 1960 it was mostly talk. Fortunately, the quiz wood, enjoying long lunches with their still lived in 1960. No story about advertis - outside the business had ever heard of com - show scandals of 1959 had generated enough counterparts in industry one day, and in the ing in 1960 would be complete without the panies such as Ruthrauff & Ryan, Benton & blame to get everybody into trouble. nation’s broadcasting and publishing em - blacklist. For 15 years the Cold War had fed Bowles or Lennen & Newell. Once the name With the creative revolution just ahead pires the next. And their clout over pro - many bizarre variations of essentially the was dropped, an agency brother might offer and baby boomers peacefully latent in gramming gave them first-name access to same notion: that a fifth-column communist a similar signal of recognition. grammar school for another few years, 1960 the likes of Dinah Shore, Jack Parr, Pat conspiracy was slowly enveloping America Growth precluded serious worries about was less a beginning than an end. But the Boone and Ronald Reagan. It was a very from the inside. The danger wasn’t military, job security. If an account moved to another power and the glory were still one on Madi - collegial and private world. but intellectual, commercial and cultural. In agency, you just followed the money up the son Avenue. # Best of all, the pressure for agency profits this atmosphere, it was easy to grow suspi - avenue. stopped at the elevator door. At the start of cious of any unseen enemy, especially imag - Any attempt to capture and portray the John McDonough, a freelance writer who 1960, not a single major agency in America ined ones within. rhythms of a company as they were nearly has written extensively about advertising, is was publicly owned or beset by meddling Broadcasters and advertisers had first 50 years ago requires an archeological dig co-editor of the Advertising Age Encyclope - stockholders or predatory arbitrageurs. been drafted into the fight against the red in - into the anthropology, idioms and secret dia of Advertising . SPECIAL ADVERTISING SECTION OF ADVERTISING AGE JUNE 23, 2008 • C7

Fashioning a New Era... Designers Taking a Cue From ‘Mad Men’ Elegance

By Nancy Coltun Webster “People [today] are responding to the el - Call it Mad! With three generations of dun - egance of the period,” Ms. Bryant says. “That garees and rock concert T-shirts stuffed into has been lacking. It is fun to see the fashions the collective closet, Americans from 20 to of ‘Mad Men’ on the runway. I’m happy that 50 and older are finally ready to get dressed. I’ve influenced so many fashion designers. It The inspiration for this new era of ele - is such a classic period.” gance comes from the offices of ad agency Designer Michael Kors’ fall collection Sterling Cooper, New York, a place where gives an appreciative nod to the style and N U

everyone is natty 24/7—even during the dog mood of “Mad Men.” Michael Kors USA Y H

days of summer. stores will feature the Season 1 DVD set, G U O

Not the least of these is Sterling Cooper packaged in a metal case designed to look D Partner-Creative Director Don Draper, like a Zippo lighter with the “Mad Men” The series "Mad Men" is inspiring a new era of elegance, from the office to the home, with fashions that dressed in a dapper narrow-lapel suit with a logo, alongside handbags, shoes and other ac - emphasize form and neatness. straight-edge white pocket square, skinny tie cessories. and a white shirt—accessorized with cuff “The runway comes to life in the store the imagination,” he says. “The first thing links (a gift from a client, department store each season. The DVD case will be dis - about this era [for women] to remember is, heiress Rachel Mencken). played along with the accessories. It all ‘Oh my God, I have a waist.’ To put on a The look of “Mad Men,” circa 1960, is makes sense,” Mr. Kors says. “My salespeo - dress or suit that has a curvy-shaped silhou - also seen in women’s fashions, from the of - ple get to say to customers, ‘Michael loves ette—that suddenly gives you a different pos - fice styles worn by office manager Joan Hol - this show.’ ” ture, a whole different way to walk. As soon loway to the stay-at-home flair sported by He notes that is a hard thing to say in mod - as a skirt is waisted, it feels sexy.” C

Mr. Draper’s wife, Betty. ern times about TV. “You are showing the form of the female M A /

“This period of fashion emphasized ele - “How do you find elegance? There’s a figure,” says Ms. Bryant. “I think it is beau - N O D gance and neatness,” says Katherine Jane real elegance to ‘Mad Men.’ Elegance can tiful, and I’m totally obsessed. It is all so L E H

Bryant, costume designer for “Mad Men.” mean stiff and old-fashioned, but it is a real pretty.” S M I “It’s about always putting your best foot for - sexy show. It is something I find very differ - In the men’s collection, Mr. Kors offers J 7 0 ward. There was a uniformity of caring how ent from the rest of television. Everything suits with narrower shoulders, a leaner lapel 0 2 you present yourself to the world. Men al - from the opening credits to art direction to and shorter jacket. He says the style works as © ways wore a suit to work—unless they were costume design. It is art directed perfectly. well for 20-year-old men as it does for 50- turned-out fashion of the era. laborers. But even a deliveryman wore a You are seeing the kind of taste level that is year-old men. “If someone is in their 20s or their 30s, shirt, and a bow tie and an Eisenhower rare on TV and rare in the movies. That you He also offers heavy-rimmed glasses as a they have probably never in their life dressed jacket.” can have that kind of taste in your house on chic unisex accessory for men and women. up—young people find it subversive,” says In fact, the series has inspired fashion de - TV is amazing because it is hard to find that He says the sexy geek look is a big turn-on Mr. Kors. signers’ fall 2008 runway collections. To her - in a movie theater. for many people. “There’s something percolating in the air ald Season 2, AMC Network partnered with “[It] harkens back to people being pol - “It is that Superman thing. When Clark about that ’60s feeling,” he adds. “Looking Bloomingdale’s for in-store and window dis - ished, and turned out and elegant, and women Kent whips the glasses off, he is Superman. I at Michelle Obama, she’s got this early ’60s plays at 14 stores, including the Third Avenue looking feminine and curvy, and men looking think the same thing for women, if she is in a look—simple hair flipped under, sleeveless and 59th Street windows in New York. The tailored,” he says. fitted sweater and her hair is pinned up and dress. It’s bubbling under the zeitgeist, and I displays feature Baccarat barware, merchan - Mr. Kors and Ms. Bryant agree the fash - she has on her glasses. There’s a bit of sexy think we’re going to see more of it. I think dise by Theory and audio and visual snippets ions are not overtly sexual. They don’t show geek—lady in public, a vixen in private.” that also makes [the show] intriguing. The from Season 1. Shoppers who spend $200 on much skin. Mr. Kors says fashion has gone Though the ideas of elegance, subtlety show is taking place in an election year when Theory merchandise receive a Season 1 too far with how much skin has been shown. and discretion are very old-fashioned, Mr. we were about to go through a big change. sound track. “Everyone is excited to leave something to Kors says that is what is luring youth to the You have that scenario in real life.” # Pete Campbell: The Life of an Account Exec

WHAT THEN NOW Salary $3,900 $55,000 Apartment, 1,500 sq. ft., $32,000 $1.995 million Upper East Side Haircut $5 $50 Footwear Oxford shoes Gucci loafers $12.95 1 $545 Hot business lunch spot 2 21 Club Michael’s Lunch for 2 (no alcohol) $25 $90 Drink of choice Martini, $5 Arnold Palmer, $5 (iced tea and lemonade) Ad Age subscription $3 $149 C

M 3

A Pack of cigarettes $0.35 $5.82 /

N 4 R Premium cigar $1.50 (Cuban) $45 O

H 5 N A fifth of Jack Daniels $7 $22 E K N

A An issue of Playboy $0.60 $5.99 L B G

I Yankees ticket (field box seat) $3.50 $95 A R C Sources: 1www.thepeoplehistory.com. 221 Club at W. 52nd St., New York; Michael’s at 24 W. 55th St., New York; 6

0 3 4 5

0 wiki.answers.com; tobaccofreekids.org; Dick DiMeola, retired chief operating officer, Consolidated Cigar Corp. Jack Daniel Distill - 2

© ery, Lynchburg, Tenn.; price excluding taxes. C8 • JUNE 23, 2008 SPECIAL ADVERTISING SECTION OF ADVERTISING AGE

The 1960 Workplace... tive.” She joined JWT because it was “a job.” She had been judging 25-words-or-less contests for Reuben Donnelly. “It was a zoo, What They’re Ad Women: How Agency Life Really Was so I took a morning off to get a job—not so easy then.” Starting at JWT as a clerk-typist Saying... (since, not knowing shorthand, she wasn’t “Save me from the writers who want it all By Nancy Giges top creative at William Esty Co. and rose to qualified to be a secretary), she recalls she their own way! Save me from the cry-ba - One glaring fact of life on the series “Mad become exec VP-director of creative serv - made $30 a week, $26.30 after taxes. bies! As I have observed it, great advertis - Men” is sexism. The treatment of women in ices. From the earliest days, her experience She was happy to be assigned to the radio ing writing, either in print or TV, is al - the office scenes is enough to make modern was that women were well accepted on the and television department. Soon after, ways deceptively and disarmingly simple. professionals cringe. The comments tend to creative side. Lucene Fergus from human resources chas - If you are writing about baloney, don’t try be crass and the looks lascivious. “I never had any problem with men tised her for not applying for the copy com - to make it Cornish hen, because that is the Surely, thinks today’s viewer, that’s all an copywriters. They always were very coop - petition, routine particularly for women who worst kind of baloney there is. Just make exaggeration—artistic license staged to em - erative; we worked together, and things wanted to get promoted. She told Ms. Fer - it darned good baloney.” phasize a certain time and atmosphere. But went well. I always had people voluntarily gus that she didn’t want to be a copywriter Leo Burnett according to one woman who worked in the covering for me, and they were wonderful,” because she was happy where she was and Leo Burnett Co. industry at the time, the TV series is “ab - she recalls. “If I got a phone call, they would that she also aspired to be a good wife and • solutely dead-on.” say she just stepped out of the office, and mother—to which Ms. Fergus replied, “That “Advertising is based on one thing: happi - “What most impresses me is how ex - they knew I was at a school play [for one of won’t look well at all,” Ms. Cutler recalls. ness.” traordinarily accurate the details are, and it’s her four children].” “She was quite threatening, so I did sign up Don Draper as dead-on for the wives in the suburbs as it Ms. Wolff says she climbed the ladder for the copy competition.” Sterling Cooper is for us in the office,” says Laurel Cutler, with ease, starting at a Boston agency in the Only about two or three candidates were • whose first agency job was clerk-typist at J. late 1940s before moving to New York in the selected for training each year. Ms. Cutler “You guys got it made. Gorgeous women Walter Thompson Co. in the late 1940s and 1950s. was one of them. While women started as parading through the office—in my next who was also a wife in the suburbs. Ms. Robinson started as a copywriter at a clerk-typists and secretaries, men started as life I’m coming back as an adman.” On the agency side, Ms. Cutler says she Boston agency before joining Grey Adver - messengers or mail boys. “So that wasn’t re - Tom Vogel railed against restrictions and found the tising in New York in 1947, where renowned ally an inequality,” she says. “It was differ - Vicks Chemical Co. forced competition among women repre - creative Bill Bernbach recognized her talent. ent, equally menial.” However, men had a • hensible. “The women’s ladder was one “Any cult of advertising creativity is a person wide,” she says, and in her experi - waste of time. Those of us in advertising ence “no woman could ascend unless are engaged in business. To earn our keep, somebody else was kicked off. It became a we should try to send out a torrent of lethal catfight and caused some very bitter ideas that are deeply involved with the ad - competition.” vertiser’s business—that are inspired, For Ms. Cutler, who went on to have a shaped and expressed in terms of the ad - career that spanned creative, the account vertiser’s relation to the prospect or to his side and the beginning of planning, one market. Advertisers are not spending bil - story in the show that hit especially close to lions of dollars to decorate the various home was when lead character Don Draper media. Their messages are not ornaments. was offered the creative director job at Mc - They have a specific business purpose.” Cann-Erickson. “I was the creative director Marion Harper Jr. of McCann-Erickson at that time,” she McCann-Erickson says. When she saw that episode, she said • to her husband, “Oh my god, I never knew “The day you sign a client is the day you

they were trying to fill my job!” While it N start losing them.” U Y may have been a story line, she says it cer - H Roger Sterling G tainly could have happened. “Are you kid - U Sterling Cooper O ding? That’s how realistic the show is.” D • Rena Bartos, an alumna of both JWT and Sterling Cooper office manager Joan Holloway stops to chat with former secretary Peggy Olson. Ms. “Advertising is, of course, essential to our Olson was recently promoted to junior copywriter and will be assuming her new duties shortly. McCann, says her reaction to the authentic - life. People need to know about products, ity of the show is mixed. “It’s good enter - places to vacation, insurance, business and tainment, and they captured the atmospher - Likewise, Ms. Bartos says she got a leg up in few more options: They could go up the ac - real estate opportunities, and innumerable ics. Everybody was smoking like that then, research when she was persuaded by her for - count side, which was closed to women, or other things. Advertising is useful also, of but the substance is way off.” She says there mer boss, well-known researcher Herta Her - could become copywriters. course, for presenting the views of political was more to coming up with an idea than the zog, to return to work after spending 10 Both Ms. Robinson and Ms. Wolff recall parties or candidates. It is most effective last-minute solutions the characters on the years at home as a wife and mother. their jobs being quite fun. “My husband kept when it does its job, for whatever client, in show pull out of a hat—an understandable “It never occurred to me that as a woman saying, ‘Why don’t you quit?’ and I would an honest way.” observation since she has a research back - I was being discriminated against because I say, ‘Quit? I’m having too much fun,’ ” Ms. Sen. John F. Kennedy ground. On the show, there is “always this wasn’t,” says Ms. Bartos. “I never got into Wolff says. “I won a few awards, and that’s one brilliant guy coming in with a wonderful who was making what salary with my male always fun. For a while, I shared an office “Advertising here is a•business. We are not solution and everybody loves it,” she says. counterparts. I was probably very naïve with Walter Lord [author of “A Night to Re - out to make advertising into an art, but we “That is totally unrealistic.” about that, but I didn’t have any sense of member” and other books, who also worked are pretty serious about the business of sell - Ms. Cutler and Ms. Bartos were among grievance at the time.” She does recall find - as a copywriter at JWT].” He encouraged her ing our products….We are less concerned four women who shared recollections about ing herself the only woman in the room in to write a book, which led to the publication with what is fashionable, with the far out their experiences as adwomen during the many management meetings after she joined of “What Makes Women Buy” (McGraw- and the offbeat than with down-to-earth “Mad Men” days. The others are Phyllis JWT in 1966. Hill, 1958), the first of eight books she selling.” Robinson, who made advertising history by She also remembers being required to go wrote. After its publication, Ms. Wolff was Fairfax M. Cone becoming the first female agency copy through a back entrance at the Harvard Club made a VP and sent by JWT to “speak across Foote, Cone & Belding chief in the U.S. when she joined the fledg - to attend meetings of a professional organi - the country and across the Atlantic on how to • ling Doyle Dane Bernbach in 1949, and zation because women weren’t allowed sell to women.” “We have lived through…the Fabulous Janet Wolff. through the front door. Similarly, when Ms. Robinson says the fun was in the Fifties—the decade of the superhighway Women had different experiences de - some management meetings took place at work, both hiring people to write ads and and the supermarket, the family room and pending on where they worked, says Ms. the all-male Sky Club in New York, “I had writing herself. Among those she hired who the TV dinner . …The sky used to be the Wolff, who as the youngest VP-creative di - to walk through the kitchen.” But she took it went on to make names for themselves were limit…but suddenly there isn’t any limit. rector at JWT spearheaded the transition in stride. “I didn’t feel put-upon.” Mary Wells Lawrence and Paula Green. We can no longer even conceive what the from print and radio campaigns into televi - Ms. Cutler, the only one of the four who “Mary was already in the business, but this limit might be.” sion for many major advertisers in the 1950s. didn’t start at an agency at a professional elevated her to another level,” Ms. Robinson Whit Hobbs She left JWT in the early 1960s to become a level, found the work environment “restric - (Continued on Page C14) BBDO C10 • JUNE 23, 2008 SPECIAL ADVERTISING SECTION OF ADVERTISING AGE

Creative Man’s Corner... can values and traditions (what we called “life inside the white picket fence”), while Pepsi would carve out younger, hipper, more leading-edge imagery by attaching the brand to what was happening in music, film and popular culture, capturing the sights, the sounds Evolution of a Revolution and the stars who represented the moment. At the time, this was epitomized by Michael Jackson, on whom Pepsi took the con - siderable risk of representing the brand and earned the reward of literally focusing the nation on yet another groundbreaking advertising campaign. In more businesslike terms, Pepsi put up a then-unheard-of sum to sign Michael, and within a week of his By Allen Rosenshine first commercial going on air had gotten many times that amount in free advertising Chairman Emeritus, BBDO Worldwide as the spot was repeatedly shown on news broadcasts across the nation. To date, Pepsi continues to pursue this pop culture strategy, which saw the brand surpass Coke sales In the early 1960s, Pepsi-Cola advertising reflected its market status as certainly some - in points of distribution such as U.S. supermarkets where both were available. thing less than America’s first choice in soft drinks. Coke was already a global icon Perhaps more than any other brand advertising, Pepsi-Cola over the past half century while Pepsi was an economy cola, as its jingle so pithily put it (“Twice as much for a has become a history of American values, popular culture and advertising itself. # nickel, too, Pepsi-Cola is the drink for you”). People did not serve Pepsi either proudly or in plain view. It became a strategic imperative to move it out of the kitchens and into the living rooms of America or, more important, into the hands of people who were en - joying life. Pepsi’s and BBDO’s first attempt was a campaign called “The Sociables,” featuring the theme line “Be sociable, have a Pepsi” which, not surprisingly, showed the brand in social situations. Unfortunately, while this succeeded in moving Pepsi from being a hid - den to a happily consumed brand, it hardly made a dent in Coke’s image as America’s symbol of enjoyment and refreshment. Then came the revolution, led by the legendary Alan Pottasch at Pepsi, working with BBDO to create “The Pepsi Generation,” arguably the first advertising campaign of the lifestyle genre, celebrating not the product, but the people who drank it. For the next 25 years, this led to advertising that dramatized the excitement, the energy, the enthusiasm and the joy of life typified by the young and the young at heart. As America changed, the campaign reflected current events and attitudes, while music, action and emotion per - meated every spot. By the mid-1980s, Pepsi was challenging Coke for leadership, if not globally, certainly in the U.S. market. The evolution of this campaign into a new direction took place in 1984, when Roger Enrico, with the continued leadership of Mr. Pottasch now working with Phil Dusenberry at the agency, demanded a new approach that would differentiate Pepsi from Coke. With the brand having gained parity in image and acceptability, Mr. Enrico was looking for sep - aration in strategy, in execution and, of course, in market share. The new thrust that evolved was based on an acceptance of Coke as the ongoing symbol of middle Ameri - Figures to File

Top 10 National Advertisers—1960 Top 10 Agencies by Total Billing—1960

1. General Motors Corp...... $168.5 million 1. J. Walter Thompson Co...... $370.0 million 2. Procter & Gamble Co...... 127.0 million 2. Interpublic (McCann-Erickson) ...... 352.0 million 3. General Foods Corp...... 110.0 million 3. Young & Rubicam ...... 247.0 million 4. Ford Motor Co...... 90.5 million 4. Batten, Barton, Durstine & Osborn ...... 243.7 million 5. Lever Bros. Co...... 80.5 million 5. Dentsu Advertising (Japan) ...... 148.5 million 6. General Electric Co...... 73.0 million 6. Ted Bates & Co...... 130.5 million 7. American Home Products ...... 65.0 million 7. Foote, Cone & Belding ...... 120.0 million 8. Colgate-Palmolive Co...... 59.0 million 8. Leo Burnett Co...... 116.7 million 9. Chrysler Corp...... 56.9 million 9. Benton & Bowles ...... 114.0 million 10. R.J. Reynolds Tobacco Co...... 50.0 million 10. N.W. Ayer & Son ...... 110.0 million

Top 10 National Advertisers—2006 Top 10 Ad Agencies by Revenue—2007

1. Procter & Gamble Co...... $4,898.0 million 1. Dentsu ...... $2,171 million 2. AT&T ...... 3,344.7 million 2. BBDO Worldwide* [Omnicom] ...... 1,742 million 3. General Motors Corp...... 3,296.1 million 3. McCann Erickson Worldwide* [Interpublic] ...... 1,619 million 4. Time Warner ...... 3,088.8 million 4. DDB Worldwide* [Omnicom] ...... 1,432 million 5. Verizon Communications ...... 2,821.8 million 5. TBWA Worldwide* [Omnicom] ...... 1,292 million 6. Ford Motor Co...... 2,576.8 million 6. JWT* [WPP] ...... 1,237 million 7. GlaxoSmithKline ...... 2,444.2 million 7. Publicis* [Publicis] ...... 1,004 million 8. Walt Disney Co...... 2,320.0 million 8. Hakuhodo [Hakuhodo DY Holdings] ...... 943 million 9. Johnson & Johnson ...... 2,290.5 million 9. Y&R* [WPP] ...... 907 million 10. Unilever ...... 2,098.3 million 10. Ogilvy & Mather Worldwide* [WPP] ...... 812 million

*AD AGE Estimate

Source: 1960 figures, Advertising Publications Inc.; 2006/07 figures, Advertising Age Data Center MAD MEN WANTED

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Newspapers Top Ad Vehicle ... Media: Channels of Anxiety

By John McDonough “The biggest business in America is not steel, automobiles or television,” CBS com - mentator Eric Sevareid said as the 1960s began. “It is the manufacture, refinement and distribution of anxiety.” Packaged as advertising and measured in dollars, the total volume of “anxiety” cir - culating in America as 1960 dawned was worth more than $11 billion. At the top of the media hierarchy were newspapers, which accounted for nearly one-third of all ad spending that year (31.7%). A distant but solid second was direct mail, which captured 14.2% of ad spending in 1960, paying more than $1.56 billion to distribute 17 billion pieces of mail.

lose behind was television, which accounted for 13.8% of the whole. It was still a Cblack-and-white world. As 1960 began, only 11 prime-time programs offered color, all of them on NBC. The average cost of a 30-second spot in network evening program - ming was about $18,200, though most advertisers still used 60-second commercials. Six weeks before the 1960 political conventions were to air, NBC was offering a one-sixth sponsorship of its “gavel-to-gavel” coverage for $600,000. After television came magazines with 7.8%. Life and Look were still powerful gen - eral-interest weeklies. A single black-and-white page in Time sold for $13,225. Radio was down to 5.8% of revenue, about half what it had been in 1950. Networks S S were dumping blocks of time back to the locals. November 1960 would be the end of the E R P D

line for radio soap operas, as CBS dropped “Ma Perkins” and “Young Dr. Malone.” Also E T A I gone in the sweep was “Amos ’n Andy,” present at the origin of network broadcasting. C O S Some considered radio a dying medium. S A Among the top shows in the 1959-60 television season were (clockwise from top left): "Gunsmoke," he newspaper may have been the king of all media by volume. But the medium "Father Knows Best," "Have Gun –Will Travel" and "The Red Skelton Show." Teverybody talked about was television. Color was still a work in progress. The sec - ond biggest TV story of 1960 was Jack Paar’s stunning walk-out from the “Tonight IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Show” in February over a network censorship fuss. It was banner headline material every - Top Prime Time TV Shows where. The third biggest was his return six weeks later. October 1959 –April 1960 But the biggest media story was going on behind closed doors: the continuing battle between Madison Avenue and the networks for control of television programming. The PROGRAM NETWORK RATING agencies had a lot to lose. 1. Gunsmoke ...... CBS ...... 40.3 As television was getting under way in the late 1940s, the new medium inherited by 2. Wagon Train ...... NBC ...... 38.4 default the business model of the old. The early radio networks were essentially glorified 3. Have Gun –Will Travel ...... CBS ...... 34.7 phone companies selling ad time, not content. So advertisers turned to their agencies to develop programs. For the next 30 years many of radio and television’s biggest shows 4. The Danny Thomas Show ...... CBS ...... 31.1 were created and packaged by agencies and paid for by a single sponsor. Thus, Ameri - 5. The Red Skelton Show ...... CBS ...... 30.8 cans watched “Colgate Comedy Hour,” “Kraft Theater” and “Westinghouse Studio One.” 6. Father Knows Best ...... CBS ...... 29.7 By 1950 the ad agencies were the Warner Bros. and MGMs of broadcasting. 77 Sunset Strip ...... ABC ...... 29.7 This was not a situation the networks were eager to continue, and two trends were in 8. The Price Is Right ...... NBC ...... 29.2 their favor. As production costs rose, it became more difficult for a single sponsor to 9. Wanted: Dead or Alive ...... CBS ...... 28.7 carry a program and own its content. In the late 1950s, alternate sponsorships became 10. Perry Mason ...... CBS ...... 28.3 common, joined in the ’60s by participating sponsorships, further diluting sponsor in - 11. The Real McCoys ...... ABC ...... 28.2 fluence. 12. The Ed Sullivan Show ...... CBS ...... 28.0 13. The Rifleman ...... ABC ...... 27.5 ut in 1960 Madison Avenue still exercised in loco parentis on behalf of its advertis - 14. The (Tennessee Ernie) Ford Show ...... NBC ...... 27.4 Bers, much to the irritation of the networks and the fury of the writers. Race was a fre - 15. Lawman ...... ABC ...... 26.2 quent sore point. In 1955, Hutchens Advertising tried to stop the casting of “Negro” actor Sidney Poitier in a “Philco Playhouse” episode. In 1959, BBDO demanded that a “U.S. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Steel Hour” dramatization of the Emmett Till murder case be relocated to New England and that all mention of the Mason-Dixon line be dropped. The agency even told writer September 200 6–May 2007 Rod Serling to cut references to Coca-Cola because it was a “Southern drink.” PROGRAM NETWORK RATING Such tensions often produced more drama in the conference rooms than on the TV 1. American Idol —Wednesday ...... FOX ...... 17.3 screen. “I have resigned from programs,” TV director Norman Jewison wrote in TV 2. American Idol —Tuesday ...... FOX ...... 16.8 Guide in 1961, “rather than allow constant meddling by Madison Avenue experts.” 3. Dancing With the Stars —Monday ...... ABC ...... 12.7 Such frustration developed over the fact that television was a vast national party line Dancing With the Stars —Tuesday ...... ABC ...... 12.7 in which everybody had to listen to everybody else. America may have been racially seg - regated, but it was culturally integrated. The technology could not yet deliver targeted Dancing With the Stars —Wednesday ...... ABC ...... 12.7 content to niche audiences. The variety show, now an extinct format, was the essence 6. CSI/Crime Scene Investigation ...... CBS ...... 12.2 of shared experience. Those who watched Elvis Presley on “The Steve Allen Show” in 7. Grey’s Anatomy ...... ABC ...... 12.1 July 1956 also saw Louis Armstrong, Steve Lawrence, Eydie Gorme, Andy Griffith and 8. House ...... FOX ...... 11.1 Imogene Coca. 9. Desperate Housewives ...... ABC ...... 10.8 The tipping point in the agency-network battle came with the quiz show scandals in 10. CSI: Miami ...... CBS ...... 10.7 1959 and the subsequent congressional hearings on program practices in 1960. Though 11. Sunday Night Football ...... NBC ...... 10.5 sponsor influence was an issue, it was the networks that were called on the congressional 12. Without a Trace ...... CBS ...... 9.4 carpet. 13. Deal or No Deal —Monday ...... NBC ...... 9.2 But in humiliation there was also opportunity. If the broadcasters were to become 14. Two and a Half Men ...... CBS ...... 9.1 masters of their own house, this was the time to make it happen. Production moved in - 15. NCIS ...... CBS ...... 9.0 creasingly to film and partnerships with independent producers. In October 1955, 75 net - work programs were underwritten by a single advertiser. By fall 1960, that was down to Source: “The Complete Directory to Prime Time Network and Cable TV Shows,” 9th edition. Tim Brooks and Earle Marsh 31; and by 1965, there were only 12. # IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

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democracy a living portrait of two men jury found the tobacco company’s actions U.S. Elections under stress and let the voters decide, by in - U.S. Tobacco lacked malice and awarded no money to the stinct and emotion, which style and pattern plaintiff, the case sets a precedent and opens (Continued from Page C1) of behavior they preferred in their leader,” (Continued from Page C2) the door to future possible cash settlements. # Still, as the telecast of the first debate Mr. White said. “The salient fact of the great boy, displaying him enjoying the great out - began on Monday, Sept. 26, no one could TV debates is not what the two candidates doors, the epitome of a pristine environment. Update: Today the ad landscape, once hum - have imagined the extent of its impact on said nor how they behaved, but how many Still, the negative press linking cigarets to ming with cigarette TV jingles, is radically the campaign. of their fellow Americans gave up their lung cancer has been unavoidable. Reader’s different. Everything changed in 1964 when Whether it was inadequate preparation, evening hours to ponder the choice between Digest, which throughout the 1950s ran sto - Surgeon General Luther Terry delivered a bad makeup or the fact that he hit his injured the two men.” ries exploring the lung-cancer link, last year critical blow to the industry by releasing his knee on the way into the WBBM-TV studio Overcoming Mr. Nixon’s early advantage hyped a story titled “The Growing Horror of report linking smoking with lung cancer. In in Chicago that night—and went “white and and summertime lead, Sen. Kennedy ended Lung Cancer” on New York subway ads. The 1971, the Public Health Smoking Act banned pasty,” according to an observer—Mr. the month of debates with a lead of several tobacco industry pressured the New York cigarette advertising on radio and TV. While Nixon looked terrible. Everything that could percentage points in national polls. Transit Authority to remove the subway ads, the effect of that ruling seemed muted—as go wrong, did: The lighting made him look Despite a surge in the last 10 days be - but not before a great deal of anti-cigaret ink major cigarette companies prominently dis - haggard and sick, his suit blended into the fore the voting—helped significantly by a was spilled. played their logos on billboards, race cars and background of the TV set and he sweated $500,000 Republican TV push and the ap - It has also been a busy year for lawsuits, other highly televised events—other restric - profusely. Not thinking of how it would pearance of President Eisenhower on the with the cigaret industry still faring well in tions on cigarette advertising followed, with look to a television audience, Mr. Nixon campaign trail—Mr. Nixon could not re - terms of monetary losses. In Pritchard v. cigarette media spending peaking in 1985 at talked to his opponent directly and like a de - gain the ground he had lost. Liggett & Myers Tobacco Co., while the jury $932 million. bater—while Sen. Kennedy, already with So on Nov. 8 Americans elected the na - said that smoking Chesterfields was the Smoking has plummeted, having peaked the right suit, right lighting and a comfort - tion’s first Catholic president in an election cause—or one of the causes—of cancer in in 1963 before the Surgeon General’s dam - able manner in front of the cameras, knew where voters were clearly calling for change. the plaintiff’s right lung, they declined to pay aging report appeared. Compared to 1965, what to do and addressed the audience be - A huge factor in the race was the unusually out damages based on the assumption of risk. when 42.4% of the population smoked, yond the TV studio. large registration of new voters and first-time Another liability suit, Green v. American To - 20.8% of the U.S. population smoked in 2006 But in many ways, it didn’t matter what voters, possibly inspired by the strong con - bacco Co., marks the first time a plaintiff has (23.9% of men and 18.0% of women), ac - the two men said. “It was the picture image trast between the candidates’ positions on the won against a tobacco company for causing cording to the Centers for Disease Control that had done it,” Theodore H. White, the his - issues. The 1960 vote count ended up 6.8 death because the plaintiff had smoked its and Prevention at the U.S. Department of torical journalist who followed the two cam - million over 1956’s count. # cigarets, in this case Lucky Strikes. While the Health and Human Services. # paigns intimately for more than a year, said later. “In this year, television had won the na - The Life of the Average American tion away from sound to images.” Ad Women In some ways, the TV debates mirrored WHAT THEN NOW the way the candidates used their television President Dwight D. Eisenhower (R) George W. Bush (R) (Continued from Page C8) advertising. The vice president focused on says. “She wrote in her biography that when 1 his experience, asking voters who they Population 180,671,158 304,358,209 she came to meet me, she was very nervous. wanted in the role of “the decider” for the Life expectancy 69.7 years 2 78.1 years 3 In her book, she wrote about me, ‘There she nation. Mr. Nixon’s ads were straightfor - Median income 1 $5,620/family $48,201/household stood like the lead angel in an opera,’ ” ward—some might say boring—discussions Unemployment 4 4.9% 4.6% adding, with a laugh, “That was a hoot.” of the issues. “I’d like to talk to you about In addition, she says, “Men were very re - 5 6 dollars and cents,” he said in an introduction New home $12,700 $431,800 spectful and appreciated my work. My boss to a monologue on taxes. Sen. Kennedy’s Divorce rate 24% 1 34% 7 [Bill Bernbach] was terrifically admiring of team used jingles, slogans and celebrities New vehicle $2,600 5 $28,800 8 me.” And there was “not a whiff” of compe - from Harry Belafonte to the candidate’s Gallon of gas $0.25 5 $4.08 9 tition with men, she adds. “I could write wife, Jacqueline Kennedy, talking to voters about anything I wanted to.” 10 in Spanish. Said one Madison Avenue cre - Best motion picture “The Apartment” “No Country for Old Men” Ms. Cutler says that women at JWT could ative who preferred to remain anonymous, No. 1 bestseller 11 “Advise and Consent” “A Thousand Splendid Suns” write copy in only the four “F” areas: food, “When [the Kennedy campaign] got Frank Allen Drury Khaled Hosseini faces, furniture, fashion. “Probably the rea - Sinatra, I knew it was over.” No. 1 song 12 “Theme From ‘A Summer Place’ ” “Irreplaceable” son I ended up at Chrysler [in 1989 as VP- By the day after that first debate, Mr. Percy Faith Beyonce consumer affairs while simultaneously serv - White said, “The impact [of the debate] was Federal debt 13 $286.3 billion $9,420 billion ing as vice chairman of Foote, Cone & intense, immediate and dramatic.” Belding/Leber Katz Partners] was that I was Sources: 1U.S. Census Bureau 21960sflashback.com 3Centers for Disease Control and Prevention 4Bureau of Labor Statistics, Beginning the morning after the debate, 1960 and 2007 5thepeoplehistory.com 6Federal Housing Finance Board, 2006 7Divorce Statistics & Studies Blog 8National determined to lick that one,” she says. “I re - Sen. Kennedy’s campaign rallies were Automobile Dealers Association, Industry Analysis Division 9American Automobile Association 10 Academy of Motion Picture member when I wanted a tire assignment, 11 12 13 stormed by enthusiastic voters. Southern Arts & Sciences caderbooks.com; Barnes & Noble Billboard TreasuryDirect.com; U.S. National Debt Clock they just laughed. We lived in a ruffled senators who had been skeptical of the ghetto, so to speak.” young Massachusetts scion’s ability to talk car-owning families, more than 19% are two- Still, at Thompson, the “F” accounts were to voters in their states immediately lined Today’s Consumer car owners. Two primary reasons for the in - good ones: Lux soap and Pond’s cold cream, up behind the Kennedy campaign. Accord - creases are suburban living, where a second for example. “But you couldn’t do Ford, ing to polls conducted after the Sept. 26 de - (Continued from Page C3) car is almost a necessity for shopping and ac - which was the biggest one. You couldn’t do bate and the three subsequent contests— Survey, found that housing had become the tive participation in community affairs by the Pan Am,” she says. on Oct. 7, 13 and 21—Sen. Kennedy won No. 1 spending area at 29.5%, overtaking wife, and an increase in the number of If there is one area in which the four hands-down. food at 24.3%. Clothing was third at 10.4%. teenage drivers, as the large crop of “war ba - women have similar recollections, it’s that The debates now have the distinction of Housing costs include shelter, which makes bies” have started to reach driving age. smoking, booze and sex were all prevalent. being the most-watched programming in the up 47.1% of the total, followed by furnish - According to a recent report from the Ad - Says Ms. Cutler, “It was a very sexy en - history of television. George Gallup and his ings, utilities and operational costs. vertising Research Foundation, 46,199,- vironment. There was a hell of a lot of drink - organization said 85 million Americans While the country has been in a spending 000—or seven out of eight U.S. house - ing. The smoking was endless. We were all watched one or all of the four debates, while slump, a Federal Reserve Board survey pro- holds—are equipped with at least one tele - two packs a day.” estimates from the television networks them - jects that in the second half of this year, 3% vision set. That marks an increase of more Ms. Wolff says she remembers always selves range from 115 million to 120 million of all families plan to buy a new car, while than 14,000,000 TV homes since 1955, being welcome at the frequent after-work bar viewers. Those numbers surpassed the final 3.7% will buy a used car. The survey found when only two out of three homes were TV- gatherings, but “I just wanted to go home to game of the 1959 World Series between the that 5.8% plan to buy a washing machine, equipped. The latest number of multiple-set my children.” Chicago White Sox and the Los Angeles 3.9% plan to purchase a refrigerator and homes is 5,793,000, which is greater than the When Ms. Cutler left JWT, it was to es - Dodgers, which drew an estimated 90 mil - 3.9% will buy a new TV set. total number of TV homes reported in the cape from the copywriter world she never lion viewers. Car ownership is on the rise, with 73% of 1950 U.S. census. U.S. households now wanted to be a part of, although it was a Beyond how they made the candidates Americans owning cars. In addition, the boast a total 52,500,000 TV receivers. At the few more years before she moved into look and sound, however, these televised de - number of two-car families in the U.S. is ap - same time, the ARF report shows that 93.8% other aspects of the ad business. However, bates have changed the way future presiden - proaching 8,000,000, up from only 4,100,000 of homes with telephones also have TV re - this summer she will experience another tial campaigns will be conducted. “What eight years ago, according to a survey by ceivers. This compares with 66.6% TV own - link to the agency world: Her granddaugh - they did best was to give the voters of a great Ford Motor Co. Of more than 44,000,000 ership in homes without telephones. # ter has been hired at JWT as an intern. # SPECIAL ADVERTISING SECTION OF ADVERTISING AGE JUNE 23, 2008 • C15 The Sterling Cooper Portfolio A number of accounts are credited to “Mad Men” agency Sterling Cooper during Season 1 of the AMC series. Here are the actual ads from some of the shop’s “clients” that appeared around 1960.

Eastman Kodak Co. Maytag Agency of Record: J. Walter Thompson Co. Agency of Record: Leo Burnett Co. Credit: JWT Company Archives, Hartman Center for Sales, Advertising & Marketing History, Duke Uni versity Credit: Gaslight Ad Archives, Commack, N.Y.

Goodyear Tire & Rubber Co. Lucky Strike Agency of Record: Young & Rubicam Agency of Record: Batten, Barton, Durstine & Osborn Credit: Gaslight Ad Archives, Commack, N.Y. Credit: Gaslight Ad Archives, Commack, N.Y.

Gillette Right Guard Chiquita, United Fruit Co. Clearasil Agency of Record: Maxon Inc. Agency of Record: Young & Rubicam Reckitt Benckiser Inc. Agency of Record: Lennen & Newell Credit: Gaslight Ad Archives, Commack, N.Y. VisitLasVegas.com